"...At 24 years old, Joseph Moog knows no fear. He takes the virtuosic slaloms eyes wide open and then reins back without brakes for the onset of Baroque curlicues. I have a feeling we’re going to hear much more of Moog. German-born, he has an original turn of mind and an impressive technique. The music is never less than unexpected, with an occasional wistful quirk that hints at might-have-beens. Contrary to the usual rules, this album could be a career-making release..."  Norman Lebrecht, Sinfini Music

"...Many play Scarlatti's sonatas, but only a very few play them well: Pogorelich, Perahia, Pletnev, Tharaud ... and Joseph Moog. The young pianist seems to have banned the thought of a cembalo from his head, as he obviously wants to draw the maximum effect from the piano. It was not without reason that he placed a transcription, by either Carl Tausig, Ignaz Friedman or Walter Gieseking, after each original sonata. This reveals his interest in sonorousness. This is not another cembalo rendition of Scarlatti on the piano, nor is it one based on fanatical research and diversification as with Pogorelich.  Moog takes a more direct, unwavering approach. Now, no one should think that he simply plays through the sonatas. Absolutely not! If you will please allow me this seemingly paradoxical thought – he shows that speed by itself is not movement. Movement is created through very refined agogics, remarkably subtle articulation and phrasing, and the use of dynamics; and Moog is in total command of them all. And he wouldn't be Joseph Moog if he didn’t allow his own temperament and his inherently authentic way of playing to play a role. This gives these sonatas, both in their original and transcribed forms, lots of color, some pleasingly spirited warmth, and brings out a genuine reminiscence of folk dances, which most certainly influenced Scarlatti. Also, Moog does not take a "romantic" approach to do this, but instead does so with total ease, and crystalline clarity, using clever tonal nuances and his unique ability to bring the pieces' structures to light with an ever-changing richness in color.  The white lights on the cover photo are the sum total of the entire color spectrum that resounds from the sonatas.

Between the youthfully impetuous, full of zest for life and thoroughly happy fleetingness of Sonata K135 and, just 14 tracks later, the reserved swaying nostalgia of K32, Moog traverses through extremely contrasting mood images. And in the circus-like gigue (Scarlatti/Friedman), the serene K466, the reflective, good-natured K380 (medicine for the soul, certain to be effective as an antidepressant) and the agile scampering of K519, one thing is never lost: the positive attitude, the intensely human and thus total authenticity of the music, in which there is no artificiality, like that in which Pogorelich cloaked his Scarlatti Sonatas.

All of that combined reveals Moog as a Scarlatti interpreter with unlimited resources, who, with this CD, has written the Gospel of Joseph for the Scarlatti bible..." [translation from French] 

Pizzicato SUPERSONIC

"...I’ve a weak spot for hearing the baroque keyboard repertoire played on a modern piano. Bach has been endlessly rearranged and transcribed, and Joseph Moog’s collection includes much more obscure retreads of Scarlatti, made by Carl Tausig, Ignaz Friedman and Walter Gieseking. Strangely, the originals don’t sound at all primitive or bare when compared to the revamped versions. Scarlatti's sonatas are compelling, mischievous pieces. You’re prompted to laugh out loud at the hyperactive D major jollity of the K96 sonata, four minutes of zany rhythmic playfulness and bombast. Then you’ll be floored by an elegant, sinuous bass line, as with the more expansive F minor sonata K466. Moog’s reading of the K70 is one of the most electrifying bits of pianism you’ll hear. The two hands battle unsuccessfully for supremacy, and the sonata is articulated with supernatural accuracy. Sample the Sonata in E K380 and marvel at Scarlatti’s crystalline two-part writing, giving way to some deeply peculiar chord progressions and parping horn calls. Why isn’t this music better known? The Tausig and Friedman revamps are sumptuous but don’t add that much, apart from juicily thickening the textures. Scarlatti’s eccentricity is happily preserved. Walter Gieseking’s Chaconne on a theme by Scarlatti sticks out like a sore thumb, as the theme of Scarlatti’s K32 sonata is transmogrified in epic, anachronistic style over a compact seven minutes. All magnificently strange and supremely entertaining, dispatched with panache and good humour..."

Graham Rickson, The Arts Desk

"...the young Joseph Moog made a glorious Husum debut, as he addressed the topics of "adaptation, paraphrase, appropriation" in an exemplary manner. 

His own unique and highly complex etudes, which he performed with inspiring technical mastery and seeming effortlessness, were not the only astounding part of his performance. 

He presented Liszt's Paraphrase on Verdi's Ernani with an ample, lavish sound and a dangerously reckless brio, while also demonstrating crystal clear brilliance in Schumann's Concert Etudes after Caprices of Paganini.

He is to be commended for his rediscovery of Walter Gieseking's enigmatic Chaconne on a Scarlatti theme, with its striking harmonies, as well as the forgotten Trois Images oubliées by Claude Debussy, which were a very effective finish. 

Joseph Moog, a brilliant rarity discoverer, who will undoubtedly always be a welcome guest in Husum from now on..."

Schleswig Holsteinischer Zeitungsverlag

"...The Young pianist Joseph Moog's scintillating virtuosity and knack for uncovering inner voices positively delights in all three movements [Rubinstein], and yields nothing to Marc-André Hamelin's extraordinary 2005 Hyperion recording [...] During solo sequences without the orchestra [Rachmaninov], Moog takes advantage of the spotlight, and lets his imagination run wild as he highlghts the thick piano textures' inner counterpoints (both real and implied) and daringly stretches out the first-movement cadenza..." Classics Today

"Joseph Moog, 'Young Artist of the Year' 2012 at the ICMA (International Classical Music Awards), reinforces the excellent impression we have of him. His performance is effortless and authoritative!The young German pianist gives Rubinstein's fourth piano concerto, once played by Ignaz Paderewski and Sergei Rachmaninov, a refreshing briskness. The piece is given a pulsing, colorful interpretation, which makes this imaginative and creative composition come to life.But Moog’s technical ability is not actually revealed until the 3rd Rachmaninov concerto.  It's not only the virtuosic, clear as glass and lightning fast runs, the fascinating power and grandeur, but also the precise sureness of emphasis, the use of light and shadow, the interchanging of dark and brilliant tone qualities, his abundant interplay of colors and the artistic spontaneity that is born in the melting pot of musical intelligence - which is why Moog’s playing, as technically brilliant as it is, is never just for show. Nicholas Milton, as an intelligent accompanying conductor, collaborated well and inspired the orchestra to give their best, even though this orchestra performs at a level several classes below Moog. For that reason, the recording technician could have put Moog more in the forefront. Minor objections to such an impressive piano performance." [translation] Pizzicato

"A particular interest here is Anton G. Rubinstein's D minor concerto...Moog is easily a match for its bravura...Moog's is a talent worth watching." Telegraph

"...Joseph Moog is only 24 years of age, yet already a distinguished virtuoso and an extraordinary musical genius. 

His Rachmaninoff never sounded out of control or trite, and in spite of its extreme technical difficulties, it even had a chamber music quality at times. Joseph Moog is not a vain keyboard macho, but instead applies his abilities intelligently and audibly to the overall sound.

The performance Joseph Moog presents in this CD can be compared to performances of the giants of his craft. He is a true virtuoso of the black and white keys, equipped with supernatural piano technique and a truly romantic sound.

But the most remarkable thing about him is his artistic individualism, his comprehensive knowledge of all piano literature and his musical curiosity.

With his CD, Joseph Moog reinforces his top ranking, not only among the German piano virtuosos of his generation..."

Wilfried Schäper, Radio Bremen

"Joseph Moog is a young pianist with a superb technique and a warm tone. He also composes. On this album, he interestingly pairs concertos by two of Russia’s foremost pianist-composers. Anton Rubinstein’s Fourth Piano Concerto actually was in Rachmaninoff’s repertory as a soloist. Drawing attention to the neglected Rubinstein concerto by following it with a more famous work is a device that certainly is welcome. The opening movement of the Rubinstein is heavily influenced by Schumann’s piano concerto, particularly its first movement. Moog here takes on the mantle of the Schumannesque lyric poet, his tonal palette featuring halftones of grays and browns. Moog’s second movement is a true andante , or walking tempo, unlike some other performances. He plays the affecting opening melody simply and directly, introducing a shadow of melancholy that he sustains beautifully throughout the movement. The concluding Allegro constitutes a showcase for Moog’s bravura playing, with exciting exchanges between the soloist and orchestra. The two evoke the finales of the Mendelssohn piano concertos, with their combination of virtuosity and sobriety. With an advocate like Joseph Moog, we may hope that the Rubinstein concerto returns to its once notable position in the concert repertoire.I feel that Rachmaninoff’s Third Concerto, while extremely popular, is absurdly underrated as music. In it, the soloist embodies the role of the hero, as in Chopin’s concertos. As with Chopin, pianistic display demonstrates our fascination with the hero, while elucidating his character. Unlike Vladimir Horowitz, who gave us a highly demonic hero in this work, Moog’s hero is very human, even humane. His first movement exhibits quick tempos, as favored by the composer. Moog here creates a kaleidoscope of emotions, with mercurial changes in mood. The cadenza exhibits much beauty of tone. Nicholas Milton’s dark orchestral introduction to the next movement recalls the Isle of the Dead , Rachmaninoff’s previous opus—an atmosphere broken by a cascade of chaos from Moog. His scansion of the most complicated phrases is wholly convincing, even at rapid tempos. The finale starts at a speedy pace, rather than the march rhythm we are so accustomed to. Moog pays particular attention to dynamics, fleshing out the hero’s character with subtlety. He maintains tonal beauty even in rapid, soft passages, which possess a breathless excitement. Moog never pounds. The concerto’s final peroration has a sweep that might lift you out of your seat.The superb performances are captured in audio quality that is excellent, rich, and full. For an alternate view of the Rubinstein, there’s the slower, moodier version by Larisa Shilovskaya with Alexander Anissimov. I prefer Moog’s. Classic renditions of the Rachmaninoff include Van Cliburn, Byron Janis with Charles Munch, and, if you don’t mind a cut and monaural sound, Moura Lympany. Joseph Moog strikes me as an important talent whose versions of these concertos should wear very well. The Rubinstein indeed could be a reference edition, while I would recommend the Rachmaninoff to anyone who finds performances of this work hackneyed beyond endurance. Joseph Moog seems to be a pianist’s pianist." Dave Saemann, Fanfare Magazine

“Benedikt Stampa, Director of the Konzerthaus, did not overstate things when he introduced the exceptional 23-year-old virtuoso Joseph Moog as someone who is currently ‘launching an attack on the world’s top pianists’. His playing combines utmost pianistic brilliance with profoundly expressive fluency (…)”  WAZ, Der Westen

“...A young master pianist with noble brilliance: Joseph Moog inspired a standing ovation and fantastic applause from his audience. He possesses a mature expressiveness which combines with a full, gentle touch and captivating musical artistry as well as a seemingly endless variety of colors. (…) Fascinating, with what seismographic precision he integrates the musical flow and his free interpretation with the orchestra (…)” Recklinghäuser Zeitung

“...Moog presented himself as a tone-color aesthete and revealed the fine structure of the work, and effortlessly ignited the fireworks of the prestissimo trills at the end of the piece.  The Earl Wild transcription of Rachmaninoff’s song ‘The Little Island’ was like a dream of flowing sparkling champagne-like runs (…) Heiko Mathias Förster, Music Director, can claim to have presented a new star among the world’s top pianists with the merely 23-year-old Joseph Moog as a soloist. Rarely does one experience such intense mutual sensitivity in the interaction between the soloist and the orchestra.

This interaction resulted in pure listening enjoyment, which inspired a standing ovation and cries for an encore from the audience."

WAZ, Der Westen

"The soloist, Joseph Moog, not only mastered the rhythmically complex passages with effortlessness, but also succeeded in gently and sometimes pensively bringing out the typically Russian melodies, in spite of the hasty virtuosity of the composition. The work, outstandingly well performed by the merely 23-year-old soloist, was Rachmaninoff’s third piano concerto, which is rightly known for being very perilous.  The solo passages are spirited and exaggeratedly virtuosic. The pianist must master the rhythmical complexities, obscurities and an incredible number of notes. And Joseph Moog is more than capable of maintaining total control, even in the most virtuosic passages, and giving the abundant notes structural refinement and tonal color."       Gelsenkirchen, Der Westen

"...brisker, better recorded and more individually characterised reading among six other superb Liszt interpretations encompassing Joseph Moog's Liszt programme. [in comparison to Pfaff's recording of Liszt's Valse Impromptu, the review continuing relating to Joseph Moog's disc...] It opens with the jointly composed Hexaméron, based on the march from I Puritani, whose highlights include the most supple and fleet traversal of Herz's fluffy note-spinning contribution I've ever heard.

In the seldom-played C minor Polonaise, Moog shaves two-and-a-half minutes from Stephen Hough's 12-plus minute mark, sharpening the dance rhythms with gruffer swagger and dashing though the central section's less inspired pages.

While the B minor Ballade's introspective passages have plenty of breathing room, the virtuoso outbursts arguably set new speed records, and without the slightest trace of banging.

The same holds true for the Beethoven/Liszt Adelaïde's fatigue-inducing repeated chords, although Moog's finger legato and controlled rubato most memorably take wing in the unabashedly garish Trauerwalzer Variations after Schubert. Moog closes this highly recommended progamme with a Bach/Liszt C Major Prelude and Fugue, BWV545, whose powerful and sonorous impact evokes more than merely a Baroque organ at full throttle."

Jed Distler, Gramophone

"...Brave, individual programming from a pianist who is making a name for himself. Few other young pianists would risk such a programme but Moog, still 21, is bristling with talent and assurance. Moog played with unerring precision and exhilarating abandon. Another impressive disc from a name to watch..."  Jeremy Nicholas, Gramophone